Full text of "ReFocus: Art of the 1980s (Museum of Contemporary Art)"

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September 15, 2012 — January 6, 2013

MOCA

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INTRODUCTION

As explored in the previous ReFocus exhibition,
art during the 1970s became more fragmented, conceptual,
ephemeral, and no longer restricted to the confines of
galleries or museums. Economic recession, high oil prices,
political apathy following Watergate, and a more free-
wheeling culture also defined that decade. The trends of
the 1970s provided the underpinnings of what would come
to dominate and define America in the 1980s: AIDS, the
drug war, Yuppies, and the emergence of celebrity culture.

Following a decade focused on video, performance,
earthworks, and installations, painting made a vibrant
comeback in the 1980s—particularly the abstract, figurative,
landscape and expressionistic styles. Artists such as David
Salle, Jean-Michel Basquiat, Keith Haring, and Eric Fischl
came to prominence during the 1980s and their influences
still reverberate today. Many already established artists, such
as Andy Warhol, Frank Stella, David Hockney, and James Alex Katz: Red Coat, 1983. Gift of Dr. Anwar Kamal. MOCA Jacksonville
Rosenquist, experienced career resurgences as influential cies aaiaeeiaamuaaann
tastemakers and mentors for the younger generation.

As during the 1970s, New York City remained the hub of the art world. In the 1980s, the East Village became
its epicenter. A surge of media and gallery attention thrust many of the decade's rising artists squarely into the limelight,
making art prices and reputations soar, and sometimes fall, overnight. Movements such as Neo-Expressionism, New
Image painting, and genres such as photography and sculpture reached zeniths of varying heights and vulnerability during
the era. This fragility touched not only the art market but also the major artists and media stars of the decade. While
they enjoyed great fame, Basquiat and Haring, had their very public lives cut short by substance abuse or AIDS.

While observers hailed the movements of the ‘80s as a “return to painting,” what matters equally about the art of
this era is the artists’ conscious and explicit role as celebrities and the manner in which the limelight allowed them to act
as interpreters, mediators, and trendsetters of cultural, social, and political developments.

The following are the texts that accompany each section of the exhibition. Please consult the floorplan on the
opposite page to verify the location of each section within the installation.

Robert Longo: Untitled (Men in Cities Series-Larry), 1983. Robert Longo: Untitled (Men in Cities Series-Joanna), 1983.
Lithograph. Acquisition Trust Fund. MOCA Jacksonville Permanent Collection. Lithograph. Acquisition Trust Fund. MOCA Jacksonville Permanent Collection.
© 2012 Robert Longo / Artists Rights Society (ARS), New York. © 2012 Robert Longo / Artists Rights Society (ARS), New York.

CELEBRITY AND THE CULT OF THE ARTIST

While New York had served as the acknowledged center of the art world since the days of Abstract Expressionism,
in the 1980s, a thriving alternative art community developed outside the gallery and museum system in the downtown
streets, the subways and spaces in clubs, and former dance halls of the East Village and the Lower East Side. Musicians,
performance artists, and graffiti writers comprised this burgeoning art community. A draw for artists from all over the
country, ultimately, the energy and spirit of this scene became more widely recognized and many of the artists associated
with the downtown scene became overnight sensations—in the public imagination as well as the teeming and lucrative
art market, such as Jean-Michel Basquiat.

Other artists who flocked to New York during this period and, for a time, epitomized the downtown scene included
Jack Goldstein and Keith Haring. A performance and conceptual artist, California-based Goldstein made experimental films

rooted in Minimalist sculpture. Shortly after his arrival in New York, Goldstein began to make what he referred to as “salon
paintings’ — works designed both for sale to wealthy art patrons and to secure a place for himself in art history. While some
accused Goldstein of “selling out” to a bull market in painting, he nevertheless produced an intriguing set of works during
this decade, all based on photographic images of natural phenomena, science, and technology. As the 1980s continued and
interest in the “salon paintings” waned, Goldstein returned to California where he lived out the decade in relative isolation.
Many of the younger artists of the 1980s benefited from the association with a more senior and widely known artist
and art impresario—Andy Warhol. Prior to his death in 1987, Andy Warhol enjoyed a re-emergence of critical and financial
success, partially due to his affiliation and friendships with a number of prolific younger artists, who dominated the “bull
market” of 1980s New York art, particularly Basquiat, Julian Schnabel, David Salle, and other so-called Neo-Expressionists.

SPOTLIGHT: JEAN-MICHEL BASQUIAT

Perhaps the artist that best exemplifies the 1980s New York art world and this meteoric rise to stardom is Jean-Michel
Basquiat. He began as an obscure graffiti artist in the late 1970s and evolved into an acclaimed Neo-Expressionist and
Primitivist painter during the 1980s. Combining raw,
hand-scrawled text, drawing, and colorful painting, this
graffiti-inspired aesthetic appeared crude; however, it
carried deeper messages about racism and class warfare.
Throughout his career Basquiat focused on “suggestive
dichotomies,” such as wealth versus poverty, integration
versus segregation, and inner versus outer experience.
Basquiat's art utilized a synergy of appropriation, poetry,
drawing, and painting, which married text and image,
abstraction and figuration, and historical information mixed
with contemporary critique.

A laudatory review in Artforum magazine propelled
Basquiat to fame in 1981, and he began collaborating with
powerful gallerists such as Larry Gagosian and Mary Boone;
respected artists such as Robert Rauschenberg; and musical
icons, including David Bowie. He remained a fixture of
the scene and a media darling, even appearing on the cover
of a February 1986 issue of The New York Times Magazine
in a feature entitled “New Art, New Money: The Marketing
of an American Artist.” While Basquiat grew into a commercial
sensation up through the mid-1980s, he suffered froma
severe heroin addiction that ultimately claimed his life in 1988.

SPOTLIGHT: KEITH HARING

Another major icon of the downtown scene, Keith
Haring arrived in New York in the late 1970s as a student
at the School of Visual Arts. There, he experimented
with performance, video, installation, and collage, while
always maintaining a strong commitment to drawing. In 1980,
Haring found a highly effective medium that allowed him
to communicate with the wider audience he desired, when
he noticed the unused advertising panels covered with
matte black paper in a subway station. He began to create
drawings in white chalk upon these blank paper panels
throughout the subway system. Between 1980 and 1985,
Haring produced hundreds of these public drawings in rapid
rhythmic lines, sometimes creating as many as forty “subway
drawings” in one day.

Jean-Michel Basquiat: Rome Pays Off, 1984/2005. Screenprint. Courtesy
of the J. Johnson Gallery. © 2012 The Estate of Jean-Michel Basquiat / ADAGP,
Paris / ARS, New York.

The limelight quickly shone upon Haring through
the widespread recognition of these works. Over 100 solo
and group exhibitions featured Haring's work in his brief Keith Haring: Untitled, 1982. Lithograph. Norton Museum of Art Collection.
but intense career that spanned the 1980s. More than 40 sibs oni sacaniaiaai

newspaper and magazine articles in 1986 alone featured
the artist. Highly sought after to participate in collaborative
projects, Haring worked with artists and performers as
diverse as Madonna, Grace Jones, Bill T. Jones, William
Burroughs, Timothy Leary, Jenny Holzer, Yoko Ono, and
Andy Warhol. He expressed universal concepts of birth,
death, love, sex, and war using a primacy of line and
directness of message, Haring attracted a wide audience
and assured the accessibility and staying power of his
imagery, which has become a universally recognized visual
language of the 20th century. Diagnosed with AIDS in 1988,
Keith Haring died from its complications at the age of 31.

NEO-EXPRESSIONISM

The 1960s and 1970s witnessed what has been termed
the “dematerialization” of the art object. The prevailing
movements of the period favored austere expression; works
with an economy of means often focused on the idea or
concept rather than the object itself. Contrastingly, a return
to the traditions of painting and sculpture characterized the
1980s. Beginning in Germany and spreading to the United
States, Neo-Expressionism comprised a varied assemblage
of young artists who had returned to portraying the human
body and other recognizable objects in reaction to the remote,
introverted, highly intellectualized abstract art production
of the 1970s. New and aggressive methods of salesmanship,
media promotion, and marketing on the part of art dealers
and galleries helped to form the movement; while some
criticized Neo-Expressionism for its political detachment

Julian Schnabel: A Boy from Naples, 1985. Etching and aquatint. and lack of engagement with broader social issues of
Norton Museum of Art Collection. © 2012 Julian Schnabel / Artists Rights
Society (ARS), New York. the decade.

Julian Schnabel played a critical role in the emergence
of Neo-Expressionist painting in the U.S. Schnabel’s heroic scale, gestural brushstrokes, and figurative subject matter
marked a radical shift in painting that the aesthetics of Minimalist and Conceptual art had dominated for nearly two decades.
Schnabel came to prominence with his signature plate paintings. The series, notable for its heroic scale, flamboyant texture,
and distorted subjects, transformed the traditional surface of the mosaic, the broken plates and cups project from the
canvas like jagged, sculptural brushstrokes. Later in the decade, Schnabel began making paintings that marked a change
in imagery from one of excess to one of deliberate austerity and from pictorial narrative to oblique, linguistic, and
visual reference.

Perhaps more than any one work, Schnabel'’s career as a whole embodies the baroque sensibility of Neo-Expressionism.
The audacious scale of the works; decadent combinations of oil painting and collage techniques; classical pictorial elements
that historical art and contemporary culture inspired; and the blending of abstraction and figuration announced a sharp
departure from the spare and concept-driven paintings of the 1970s.

RETURN TO FIGURATION

The 1980s marked a return to painting after a period when much of the contemporary art scene had been focused
on performance, installation, and conceptual art. While a number of artists and movements, including Neo-Expressionism,
shifted toward a more representational style, a subset of artists delved more deeply into the realm of the human figure,
lending a rich variety of interpretative styles to this centuries-old theme.

Alex Katz is well known for his large paintings — frequently portraits— whose bold simplicity and arresting heightened
colors lend the works a highly graphic sensibility. Their flatness of color and form, their economy of line, and their cool but
seductive emotional detachment defined Katz's paintings. His work explores the figure in isolation and within the landscape.
The late 1950s woodcuts of Japanese artist Kitagawa Utamaro inspired Katz to develop a technique of painting on cut
panels, first of wood, then aluminum, calling them “cutouts.” These works would occupy space like sculptures, but their
physicality is compressed into planes. His approach to painting and printmaking appropriated elements of this technique,
making it seem as if each color or shape occupied a distinct plane.

Ed Paschke: Malibu, 1984. Oil on linen. Acquisition Trust Fund. MOCA Jacksonville Permanent Collection.

The figurative works of Chicago-based artist Ed Paschke focus on the ways in which media transform and stylize the
experience of reality. Throughout his career, Paschke avidly collected photograph-related visual media in all its forms,
from newspapers, magazines, and posters to film, television, and video, with a preference for imagery that tended toward
the risqué and the marginal. In his early paintings Paschke both incorporated and challenged depictions of legendary
figures by transforming them into assemblages or collages, such as Pink Lady (1970) where he set Marilyn Monroe's famous
head atop the suited body of an anonymous male accordion player. Paschke shifted his interest in the 1980s from print
to electronic media and a dazzling spectrum of televisual waves and flashes began to fill the paintings. Forms and images
disintegrated, broken apart in the fabric of electronic disturbance and its surface. In Malibu, the face and clothing of the
suited male figure is fragmented into a field of glowing swathes of color signifying this electronic overlay.

Chuck Close’s paintings, prints, and photographs combine a strong interest in portraiture and the role of photographic
technologies in translating and transmitting appearance and likeness. Close's signature Photorealist process began in
the 1960s when he took black and white photographs of his friends and then faithfully painted the photographic image.
He incorporated every detail of the photograph and allowed himself no interpretative freedom. Close would continue
to employ a realist approach based on photographic reproductions in the decades that followed. While his subject matter
has remained constant, Close has continued to change and reinvent his process. Diverging from the monochromatic works,
the artist has also explored color. In addition to painting, by the 1980s, he zealously pursued his interest in printing processes
as well as early photographic technologies, such as the daguerreotype. When a debilitating spinal artery occlusion left
him paralyzed in 1988, Close had to rethink his precisely Photorealist technique: now, with the help of an assistant, and using
an elaborate system of pullies and levers, Close has continued to paint in spite of his handicap.

James Rosenquist: Shriek, 1986. Monotype, lithograph, collage. Courtesy of the J. Johnson Gallery.

CONSUMERISM, APPROPRIATION AND THE SOCIAL CONSCIENCE

The legacy of the 1960s Pop movement and its emphasis on popular culture, advertising, and market appeal
loomed large during the 1980s. The rampant consumer culture of the decade, together with the aesthetic vocabulary
of Pop, resulted in the reemergence of appropriation, parody, and critique in the work of many of the decade’s most
well-known artists.

An icon of the Pop generation, James Rosenquist started his career as a billboard painter who later began to apply
similar techniques of grossly enlarged and fragmented images to large scale paintings. His subject matter typically revolved
around references to mass-produced goods and to magazines, films, and other aspects of the mass media, rendered
in a dispassionate and seemingly anonymous technique. Rosenquist's treatment of typical Pop subject-matter, such as sex
and consumerism, had little in common with the directness and immediacy of other Pop artists work, such as Andy Worhol
or Roy Lichtenstein. Rather than seeking to duplicate his source material, he preferred to impose himself on it through
procedures of disruption and dislocation, by combining disjointed visual elements, frequently referencing political and social
themes, into colorful tableaus that mimicked glossy, seductive advertisements.

Rosenquist’s Pop aesthetic acted as a stimulus to the younger generation of painters in the 1980s, including David Salle.
Painter, printmaker, and photographer, Salle is best known for his figurative works created from a variety of overlapping
images collected from magazines, pornography, comic books, and advertisements. Overlaid in sweeping cinematic motion,
the works beckon the viewer to draw connections between their distinct visual vocabularies and themes.

Also mining images from mass media, advertising, and entertainment, Richard Prince challenged the concepts of
authorship, ownership, and aura. An avid collector and perceptive chronicler of American subcultures and vernaculars and

their role in the construction of American identity, he has probed the depths of racism, sexism, and psychosis in mainstream
humor; the mythical status of cowboys, bikers, customized cars, and celebrities; and most recently, the push-pull allure

of pulp fiction. A controversial figure in the 1980s as well as today, Prince co-opts and represents his subjects with virtually
no sign of his own agency, routinely testing the boundaries of appropriation.

FRANK STELLA: MAXIMALIST

One of the most significant artists of the twentieth century, Frank Stella began his career as an Abstract Expressionist
painter. Feeling that the movement did not allow for innovation, by the late 1950s Stella set out on a different path. His
first and more dramatic departure from the works of his contemporaries came in the form of the Black Paintings —rectilinear
and diamond patterns on raw canvas, applied with a wide house painter’s brush. From there, more and more complex
geometries followed, leading to his most acclaimed
innovation—the shaped canvas.

By the late 1970s Stella transitioned from the rigorous
discipline of his geometric, minimalist style to a liberal,
energetic use of color and form. Beginning with the Exotic
Bird series, including New Caledonia Lorikeet, Stella freed
the angular forms and stringent symmetry of his previous
works to the flow of bold, gestural strokes and dazzling
juxtapositions of colors and varied shapes.

An avid printmaker, Stella turned to this medium
regularly in order to translate his paintings into editioned
series. Up until the 1980s, however, the artist eschewed
predetermined imagery for a more improvisational
printmaking process, developing his compositions through
a sequence of blind proofs or incorporating left over
metal scraps. His ongoing experimentation with plates,
inks, applicators, papers and printmaking techniques
has resulted in some of the visually and technically complex
works created in the medium. Bristling with riotous energy
and intelligence, these works record the freewheeling and
innovative processes which created them.

PHOTOGRAPHY IN THE 1980S Frank Stella: Then Came A Dog and Bit the Cat, 1984. Lithograph, silkscreen.

Much like abstract painting of the decade, the The Haskell Collection. © 2012 Frank Stella / Artists Rights Society (ARS), New York.
boundaries of photographic practice continued to expand
in the 1980s. In 1980, Cindy Sherman completed her most
iconic series —the Untitled Film Stills, 1977-1980. In each
of the 69 black-and-white photographs, the artist poses
in different roles and settings: streets, yards, pools, beaches,
and interiors. The suspenseful nature of the images recalled
American film noir of the 1940s, 1950s, and 1960s. Sherman's
stark settings and poses, and the seemingly incomplete
nature of the events to which they referred, created the

illusion that each of these discrete photographs was a
fragmentary glimpse into a much longer, cinematic narrative.
Also interested in encapsulating lengthy pictorial narratives
in the photographic frame, Louise Lawler focused on the
presentation and marketing of works of art. Much of her
work consists of photographs of other peoples’ artwork and Sarah Charlesworth: Objects of Desire |: Figures, 1983-1984. Cibachrome with

. a . lacquered wood frame, 42” by 62”. Edition of 3. Collection of Sondra Gilman and
view
the context in which it is viewed, such as in So Many Celso Gonzalez-Falla. Courtesy of Susan Inglett Gallery, NYC.

Pictures, where Lawler captures Frank Stella's colorful
paintings as reflected in the wood floor of a museum or gallery. Both Sherman and Lawler are part of the recently-dubbed
“Pictures Generation”—artists of the 1980s known for their appropriation of images from the consumer and media saturated
age in which they matured both artistically and physically. In addition to these photographers, other visual artists associated
with this group and included in this exhibition are Robert Longo, David Salle, and Jack Goldstein.

Richard Diebenkorn: Blue With Red, 1987. Woodcut printed in colors.

The Haskell Collection. © The Richard Diebenkorn Foundation.

Eric Fischl: Untitled (Dog), 1989. The Haskell Collection.

RETURN TO PAINTING: ABSTRACTION

While the 1980s are typically associated with a return
to figuration, abstract painting also continued to thrive
during this decade. Rather than solidifying into discrete
schools or movements, Abstraction, though widely
practiced, took an almost entirely distinct shape in the
hands of each painter. Artists such as Richard Diebenkorn,
for example, used Color Field as a point of departure for
his later works, yet created a distinctly personal, geometric
style that recalls aerial landscape and perhaps the view
from the window of his studio. The compressed, upturned
perspective emphasizes the flatness of the paper or canvas
with little illusion of depth. Also referencing geometry,
Robert Mangold’s Minimalist compositions combine color,
shape and line in a way suggestive of the subtle interplay
between three-dimensional rectangles and an architectural,
confidently-drawn sphere. Mangold’s works are frequently
referred to as architectural—a term equally well applied
to the Hard-Edge paintings of Al Held. Strident, bold
colors puncture the voluptuous curves and sharp contours
of Held’s forms. A resounding sense of volume endows
the works with a sense of spatial proportion and depth
otherwise found in architectonic renderings.

While some works strove for degrees of geometric
precision, painters such as Paul Jenkins and Michael
Goldberg explored the more gestural side of abstraction.
Jenkins poured primary colors—red, yellow, ultramarine
blue, often with white and/or black—directly only onto
loose, unstretched canvas to create his abstract paintings.
The pigments pooled and bled as he directly manipulated
the fabric and guided the paint with a long palette knife
or a squeegee. Exerting more direct contact with the paint,
Goldberg animated his subtly-crafted works with layers of
energetic, calligraphic gestures and orchestrated use of color
to bring out the depth, mystery, and lyricism of abstraction.

NEW TERRITORIES OF LANDSCAPE

The 1980s witnessed the rise of new forms of landscape
painting based on the rise of suburban life, or created in
response to its widening encroachment on the countryside.
Eric Fischl, for example, gained a reputation as a painter
of the suburbs—a subject matter generally considered
inappropriate prior to his generation. While many of the
works contend with themes of adolescent sexuality and
voyeurism, they also evoke the torpor of mundane family
gatherings, backyard cookouts and swimming pools.
David Hockney—a major contributor to the Pop Art
movement of the 1960s—created numerous self-portraits,
portraits of friends, and landscapes in which his Los Angeles

backyard pool commands the role of central protagonist. While these two artists each tackled suburbia and its function
as a psycho-social landscape, others, such as Jennifer Bartlett, focused on the purity of architecture and nature as meditation
on form. Bartlett is best known for her paintings and prints of everyday objects— especially houses— executed in a style

that combines elements of both representational and abstract art. Devoid of human beings or psychological observation,
Bartlett's works ennoble and transform the landscape rather than highlighting its more mundane associations.

Barry Tinsley: Silver Blade, 1984. Private Collection.

MEANS AND METHODS: SCULPTURAL EXPLORATIONS OF THE 1980S

This section of the exhibition focuses on the sculptural landscape of the 1980s. Rather than focusing solely on
three-dimensional works, it explores the manner in which sculpture permeated another form of art—printmaking—and the
manner in which sculptors utilized this medium to capture and extend their art beyond the physical objects they created.
For example, John Chamberlain, is best known for creating sculptures from colorful, crushed automobile parts that brought
the Abstract Expressionist style of painting into three dimensions. His series of prints entitled Welding each juxtaposes two,
roughly outlined rectangles of color. The colorful, distinct rectangles hover inches apart on the paper, as different brushstrokes
animate each and pull them in divergent directions. The title of the series suggests the impending moment in which these
two opposing surfaces might join together and transform into a new entity. Interestingly, in addition to their sculptural
references, the works also visually recall the Color Field paintings of Mark Rothko. Works such as his Untitled, exhibited
in the ReFocus: Art of the 1960s exhibition earlier this year partly inspired Chamberlain's sculptures. While Chamberlain uses
printmaking to extend his sculptural practice, other artists, such as Mark di Suvero and Joel Shapiro, take the opportunity
to reduce their sculptural forms to their essential elements—the development of line and form in space. Alice Aycock—who
pioneered a brand of large-scale public sculpture that often combines a wealth of references spanning the scientific,
the cultural, and the cosmological—also turned to printmaking to (re)imagine the shape and context of her sculptural forms.

Within the exhibition, Alexander Liberman and Barry Tinsley are among the artists representing sculptural forms.
Liberman’s highly recognizable sculptures are assembled from industrial objects such as steel I-beams, pipes, drums, etc.
and typically painted in trademark uniform bright colors, as exemplified in the candy apple red Trope VIII and the smaller,
yet no less eloquent Untitled Sculpture. A Chicago-based sculpture based known for his public projects, Tinsley created
the wall-bound Silver Blade, whose reflective form hovers on the boundary between sculpture and painting.

EXHIBITION CHECKLIST

ALICE AYCOCK

(American, b. 1946)

Chart of Magnetic Force, 1986

Lithograph

Gift of Donald and Maria Cox.

MOCA Jacksonville Permanent Collection.

ALICE AYCOCK

(American, b. 1946)

How to Catch and Manufacture Ghosts, 1981
Photo-etching and watercolor

University of South Florida Collection,
Published by Graphicstudio. SC.8112.7

ALICE AYCOCK

(American, b. 1946)

How to Catch and Manufacture Ghost:
Collected Ghost Stories from the Workhouse,
1979

Gelatin silver print

University of South Florida Collection,
FC.2000.5.1

JOHN BALDESSARI
(American, b. 1931)

Cliche Eskimo (Blue), 1995
Lithograph

Collection of Dr. Barbara Sharp
and Dr. Todd Sack

JENNIFER BARTLETT
(American, b. 1941)

Old House Lane #18, 1986
Pastel on two sheets of paper
Private Collection

JENNIFER BARTLETT
(American, b. 1941)

In the Garden, #197, 1981
Pastel on paper

Private Collection

JEAN-MICHEL BASQUIAT
(American, 1960-1988)

Rome Pays Off, 1984/2005
Screenprint

Courtesy of the J. Johnson Gallery

JEAN-MICHEL BASQUIAT
(American, 1960-1988)

Jawbone of an Ass, 1982/2005
Screenprint

Courtesy of the J. Johnson Gallery

JEAN-MICHEL BASQUIAT
(American, 1960-1988)

Charles the First, 1982/2005
Screenprint

Courtesy of the J. Johnson Gallery

SADIE BENNING

(American, b. 1973)

Living Inside, 1989

00:05:10 | B&W | Mono | 4:3 | Pixelvision video
MOCA Jacksonville Archival Collection

LYN BLUMENTHAL, CAROLE ANN
KLONARIDES, ED PASCHKE
(American, 1949-1988, American b. 1951,
American b. Poland, 1939-2004)
Arcade, 1984

00:09:35 | Color | 4:3 | Video

MOCA Jacksonville Archival Collection

JILL CANNADY

(American, b. 1942)

Umbrella Hat, 1981

Gift of Julio and Michelle Juristo.

MOCA Jacksonville Permanent Collection.

JOHN CHAMBERLAIN

(American, 1927-2011)

Flashback I-Ill, 1981

Lithograph, signed and numbered in pencil
Collection of Kenneth B. Klein

JOHN CHAMBERLAIN

(American, 1927-2011)

Welding I-IV, 1978-79

Gift of Julio and Michelle Juristo.

MOCA Jacksonville Permanent Collection.

SARAH CHARLESWORTH
(American, b. 1947)

Objects of Desire I: Figures, 1983-4
Cibachrome with lacquered wood frame
Collection of Sondra Gilman and Celso
Gonzalez-Falla

LOUISA CHASE

(American, b. 1951)

Untitled, 1983

Oil on paper

Collection of Donald and Maria Cox.
On loan from Maria Cox.

SANDRO CHIA
(Italian, b. 1947)
‘'uomo e la montagna, 198)
Watercolor on paper
Collection of Win and Scottie Gartner

CHUCK CLOSE

(American, b. 1940)

Emily/Fingerprint/Silk Colle’, 1986

Direct gravure on silk colle’

Published by Graphicstudio, University of South
Florida Collection, SC.87.8.8

CHUCK CLOSE

(American, b. 1940)

Self Portrait, 1993

Collection of Sondra Gilman and Celso
Gonzalez-Falla

MARK DI SUVERO

(American, b. 1933)

Untitled, 1986

Two-color ink drawing on paper

Gift of Donald and Maria Cox.

MOCA Jacksonville Permanent Collection.

RICHARD DIEBENKORN
(American, 1922-1993)

Blue With Red, 1987
Woodcut printed in colors

The Haskell Collection

ERIC FISCHL

(American, b. 1948)

Untitled (Dog), 1989

American Academy and Institute of Arts.
MOCA Jacksonville Permanent Collection.

LUCIAN FREUD

(British, 1922-20N)

Bella, 1987

Etching

Collection of Saul and Judy Eisen

GILBERT AND GEORGE

(Gilbert Proesch, b. Italy, 1943 and George
Passmore, b. Great Britain, 1942)

New Year World (from Twenty Worlds
series), 1989

Photo-collage

Collection of Sondra Gilman and

Celso Gonzalez-Falla

MICHAEL GOLDBERG
(American, 1924-2007)
Calagrande VI, 1985

Oil on canvas

Estate of Michael Goldberg

NAN GOLDIN

(American, b. 1953)

The Cookie Portfolio, 1990
Cibachrome print

Collection of Sondra Gilman and Celso
Gonzalez-Falla

JACK GOLDSTEIN
(Canadian, 1945-2003)
Untitled, 1986

Acrylic on canvas

The Haskell Collection

JACK GOLDSTEIN

(Canadian, 1945-2003)

Untitled (ascending rocket), 1985
Acrylic on canvas

The Haskell Collection

PETER HALLEY

(American, b. 1953)

Prison, 1987

Vacuum formed plastic relief with silkscreen

The Haskell Collection

KEITH HARING

(American, 1958-1990)

Untitled (Two Dancing Figures), 1990
Polychromed enamel on aluminum
Collection of Donald and Maria Cox.
On loan from Maria Cox.

KEITH HARING

(American, 1958-1990)

Untitled, 1982

Lithograph

Norton Museum of Art Collection

AL HELD

(American, 1928-2005)
Pan North VIII, 1986
Acrylic on canvas

The Haskell Collection

DAVID HOCKNEY

(British, b. 1937)

Lithographic Water Made of Lines, 1978-80
Lithograph printed in colors

The Haskell Collection

PAUL JENKINS

(American, 1923-2012)

Phenomena Alchemist’s Cauldron, 1983
Acrylic on canvas

Gift of Preston H. Haskell.

MOCA Jacksonville Permanent Collection.

ROBERTO JUAREZ

(American, b. 1952)

Televisions in the Park, 1982

Gift of Sherry Fabrikant in honor

of William Fabrikant.

MOCA Jacksonville Permanent Collection.

ALEX KATZ

(American, b. 1927)

Red Coat, 1983

Gift of Dr. Anwar Kamal.

MOCA Jacksonville Permanent Collection.

ALEX KATZ

(American, b. 1927)

January 1993 GN-6414, 1993

Color aquatint

Collection of Donald and Maria Cox.
On loan from Maria Cox.

MEL KENDRICK
(American, b. 1949)

Bronze Poplar Burnout, 1985
Bronze

Gift of Donald and Maria Cox

WESLEY KIMLER
(American, b. 1953)

Walk Up Tenth Street, 1989
Oil on canvas

The Haskell Collection

LOUISE LAWLER

(American, b. 1947)

How Many Pictures, 1989
Collection of Sondra Gilman and
Celso Gonzalez-Falla

ALEXANDER LIBERMAN
(American, b. Russia, 1912-1999)
Untitled Sculpture, 1984

Steel

The Haskell Collection

ROBERT LONGO

(American, b. 1953)

Untitled (Men in Cities Series-Larry), 1983
Lithograph

Purchased through the Collector’s Club Fund.

MOCA Jacksonville Permanent Collection.

ROBERT LONGO

(American, b. 1953)

Untitled (Men in Cities Series-Joanna), 1983
Lithograph

Purchased through the Collector's Club Fund.

MOCA Jacksonville Permanent Collection.

MARKUS LUPERTZ
(German, b. 1941)
Semramis-Rosenrot, 2002

Oil on canvas

Collection of Preston H. Haskell

ROBERT MANGOLD
(American, b. 1937)
Five Color Frame, 1985

Woodcut in colors
The Haskell Collection

ROBERT MAPPLETHORPE
(American, 1946-1989)

Alistair Butler, N.Y.C.

(from the Z Portfolio, 1979-81), 1980
Selenium toned gelatin silver print
Courtesy of the J. Johnson Gallery

ROBERT MAPPLETHORPE
(American, 1946-1989)

Philip Prioleau, N.Y.C.

(from the Z Portfolio 1979-81), 1979
Selenium toned gelatin silver print
Courtesy of the J. Johnson Gallery

ROBERT MAPPLETHORPE
(American, 1946-1989)

Charles Edward Bowman, N.Y.C.
(from the Z Portfolio, 1979-81), 1980
Selenium toned gelatin silver print
Courtesy of the J. Johnson Gallery

ROBERT MAPPLETHORPE
(American, 1946-1989)

Bob Love, N.Y.C.

(from the Z Portfolio, 1979-81), 1979
Selenium toned gelatin silver print
Courtesy of the J. Johnson Gallery

ANTONIO MUNTADAS

(Spanish, b. 1942)

Media Ecology Ads: Fuse, Timer,

Slow Down, 1982

00:14:00 | Color | 4:3 | Video

MOCA Jacksonville Archival Collection.

ED PASCHKE
(American, 1939-2004)
Malibu, 1984

Oil on linen
Acquisition Trust Fund.

MOCA Jacksonville Permanent Collection.

RICHARD PRINCE

(American, b. 1949)

Joke, Girlfriend, Cowboy, 2000
Chromogenic color print

Collection of Dr. Barbara Sharp and
Dr. Todd Sack

JAMES ROSENQUIST
(American, b. 1933)

Shriek, 1986

Monotype, lithograph, collage
Private Collection

JAMES ROSENQUIST
(American, b. 1933)

Space Dust (from Welcome to the
Water Planet), 1989

Lithograph collage on handmade,
hand-colored paper

The Haskell Collection

JAMES ROSENQUIST

(American, b. 1933)

Caught One Lost One for the Fast
Student or Star Catcher (from Welcome

to the Water Planet), 1989

Colored, Pressed Paper Pulp

Acquisition Trust Fund.

MOCA Jacksonville Permanent Collection.

DAVID SALLE

(American, b. 1952)

High and Wide, 1994

15 color lithograph, woodcut, on TGL
handmade paper

The Haskell Collection

DAVID SALLE

(American, b. 1952)

Long and High, 1994

14 color lithograph, woodcut, on TGL
handmade paper

The Haskell Collection

DAVID SALLE

(American, b. 1952)

Fast and Slow, 1994

17 color lithograph, woodcut on TGL
handmade paper

The Haskell Collection

DAVID SALLE

(American, b. 1952)

High and Low, 1994

14 color lithograph, woodcut, screenprint
on TGL handmade paper

The Haskell Collection

JOEL SCHAPIRO

(American, b. 1941)

#2, 1994, 1994

Chalk, pastel on paper

Collection of Donald and Maria Cox.
On loan from Maria Cox.

RANDALL SCHMIT

(American, b. 1955)

Shimmering Garage, 1989

Acrylic on canvas

Gift of Myra Bairstow and Dr. Lewis J. Obi, M.D.
MOCA Jacksonville Permanent Collection.

JULIAN SCHNABEL
(American, b. 1951)

A Boy from Naples, 1985

Etching and aquatint

Norton Museum of Art Collection

JULIAN SCHNABEL
(American, b. 1951)

Prison Rodeo, 1985

Etching and aquatint

Norton Museum of Art Collection

JULIAN SCHNABEL

(American, b. 1951)

Untitled (Flamingo |), 1990

Etching

Collection of Brooke and Hap Stein

ANDRES SERRANO

(American, 1950)

Piss and Blood Xill, 1987

Cibachrome, silicone, plexiglas, wood frame
Collection of Sondra Gilman and

Celso Gonzalez-Falla

CINDY SHERMAN

(American, b. 1954)

Untitled Film Still No. 53, 1980
Collection of Sondra Gilman and
Celso Gonzalez-Falla

DOUG AND MIKE STARN (THE STARN
TWINS)

(American, b. 1961)

Double Rembrandt Descending the Stairs,
1987-91

Toned photograph, toned ortho film, tape
and glue on plywood

Collection of Charles and Marilyn Gilman

FRANK STELLA

(American, b. 1936)

New Caledonia Lorikeet, 1980
Mixed media on tycore board
Collection of Preston H. Haskell

FRANK STELLA

(American, b. 1936)

Then Water Came And Quenched
The Fire, 1984

Lithograph and screenprint in colors
Collection of Preston H. Haskell

FRANK STELLA

(American, b. 1936)

Polar Coordinates Vill, 1980
Lithograph and screenprint in colors

The Haskell Collection

FRANK STELLA
(American, b. 1936)
Shards Ill, 1982
Lithograph

The Haskell Collection

FRANK STELLA

(American, b. 1936)

Then Came A Dog and Bit the Cat, 1984
Lithograph and screenprint in colors

The Haskell Collection

FRANK STELLA

(American, b. 1936)

The Great Heidelburgh Tun

(from The Waves | Portfolio), 1988
Screenprint, hand coloring, collage
The Haskell Collection

FRANK STELLA
(American, b. 1936)
Bene Come Il Sale, 1989

Etching, aquatint relief printed in colors
The Haskell Collection

FRANK STELLA

(American, b. 1936)

A Hungry Cat Ate Up the Goat, 1982-4
Hand colored & collaged with lithographic,
linoleum block, silkscreen & rubber

relief paintings

The Haskell Collection

FRANK STELLA

(American, b. 1936)

And the Holy One, Blessed Be He, Came
and Smote the Angel of Death, 1982-4

Hand coloured & collaged with lithographic,
linoleum block, silkscreen & rubber

relief paintings

The Haskell Collection

GUNNAR THEEL

(German, b. 1941)

Nut, 1989

Painted and welded steel
Gift of Donald and Maria Cox

BARRY TINSLEY

(American, b. 1942)

Silver Blade, 1984

Stainless steel

Collection of Randy and Sheila Ott

ANDY WARHOL
(American, 1928-1987)
Untitled (Dollar Signs), 1982
Screenprint

Private Collection

ANDY WARHOL

(American, 1928-1987)

Bianca Jagger at Halston’s House,
New York, 1979

Gelatin silver print

Collection of Barbara Colaciello

ANDY WARHOL

(American, 1928-1987)

Henry Kissinger and Elizabeth Taylor Warner,
Washington, DC, 1979

Gelatin silver print

Collection of Barbara Colaciello

ANDY WARHOL

(American, 1928-1987)

Truman Capote at home, 1979
Gelatin silver print

Collection of Barbara Colaciello

ANDY WARHOL

(American, 1928-1987)

Diana Vreeland, “Empress of Fashion”,
New York, 1979

Gelatin silver print

Collection of Barbara Colaciello

ANDY WARHOL

(American, 1928-1987)

Tennessee Williams and Producer Lester
Persky, 1979

Gelatin silver print

Collection of Barbara Colaciello

ANDY WARHOL

(American, 1928-1987)

Peter Malatesta & Monique Van Vooren,
Washington, D.C., 1979

Gelatin silver print

Collection of Barbara Colaciello

ANDY WARHOL

(American, 1928-1987)

Bianca Jagger, Liza Minnelli, and Jacqueline
Onassis in Liza’s Dressing Room, New York, 1979
Gelatin silver print

Collection of Barbara Colaciello

ANDY WARHOL

(American, 1928-1987)

Salvador Dali and Ultra Violet, New York, 1979
Gelatin silver print

Collection of Marilyn Spiller

DAVID WOJNAROWICZ
(American, 1954-1992)

Time (six photos), 1992

Gelatin silver print

Collection of Sondra Gilman and
Celso Gonzalez-Falla

TIMELINE

1980

* Who Shot JR? is talked about heavily from the TV show Dallas.

- Reagan is elected president.

+ John Lennon is assassinated by Mark David Chapman.

- US hockey team beat Russia for the gold in the Winter Olympics.
- The Times Square Show held in New York's Lower East Side.

1981
- Sandra Day O'Connor becomes first female Supreme Court Justice.
- Prince Charles and Diana Spencer marry.
- MTV begins.
- John Hinckley attempts to assassinate President Reagan.
- A major Neo-Expressionism exhibition, A New Spirit in Painting,
is presented in London.

1982

- Britain and Argentina fight war over Falkland Islands.

* Michael Jackson's Thriller released.

- The Vietnam Memorial is erected.

- The first artificial heart transplant takes place.

- A seminal exhibition of Italian Neo-Expressionist art, Tranavantguardia,
is presented in Modena, Italy.

1983

- President Reagan proposes Strategic Defense Initiative (Star Wars program).

- U.S. forces invade Grenada.

+ Sally Ride becomes first American woman in space.

* More than 200 Marines killed in suicide bombing of barracks in Beirut.

- Exhibitions of graffiti art are presented at Sidney Janis gallery in New
York and in Rotterdam.

1984

- The Cosby Show premieres.

- PMRC seeks to put warning labels on record albums.

- Dual tragedies hit India: the assassination of Indira Ghandi and the
Union Carbide chemical disaster in Bhopal.

- The exhibition Difference: On Representation and Sexuality is
presented at the New Museum of Contemporary Art in New York.

1985

- Gorbachev becomes last president of Soviet Union.

- Titanic wreckage found.

- Coca Cola changes its recipe to huge public backlash.

- Live Aid concert raises millions for famine relief in Africa.

1986

- Space shuttle Challenger explodes, killing all 7 astronauts on board.

- A nuclear accident occurs at Chernoby] in Russia.

- News reports emerge about illegal arms deals with Iran in exchange for
the release of American hostages in Lebanon.

» Basquiat, Haring, Schnabel, Warhol and others install their artwork
temporarily at Area, a New York nightclub.

1987

- Artists protest the ongoing Sistine Chapel restoration.

- The INF agreement between the US and the USSR.

- The largest stock-market drop in Wall Street history occurs, losing 22.6%
of Dow Jones Industrial Average’s total value.

- The NAMES Project Quilt, devoted to those who have died of AIDS, is
first displayed.

1988

- Soviets withdraw troops from Afghanistan.

- George H. W. Bush beats Michael Dukakis to become president.

- Human Genome project begins.

* Benazir Bhutto becomes the first woman to head an Islamic nation.
- “Unofficial” Soviet art begins to appear in United States exhibitions.

1989

- The fall of the Berlin Wall occurs.

- Exxon Valdez oil disaster occurs in Alaska.

- Students protest in Tiananmen Square.

- The National Endowment of the Arts comes under attack in Congress
for funding work by artists that are considered “obscene.”

1980s ESSENTIALS

Take your exhibition experience beyond the art through a special
partnership with the Jacksonville Public Library. From books by

Tom Wolfe to music by James Brown, plus films and other materials,
the art, artists and culture from each decade come to life.

Check out the Pop Culture Universe database, special monthly
programming, a selection of books, music and movies by decade
and more: www.jaxpubliclibrary.org/moca.

READING
In Search of Excellence / Thomas J. Peters & Robert H. Waterman, Jr.
Fatherhood / Bill Cosby
Cultural Literacy / E.D. Hirsch, Jr.
Presumed Innocent / Scott Turow
Official Preppy Handbook
The Cycles of American History / Arthur Schlesinger, Jr.
Lonesome Dove / Larry McMurty
Maus / Art Spiegelman
Love in the Times of Cholera / Gabriel
Garcia Marquez
Beloved / Toni Morrison
Lincoln / Gore Vidal
lacocca / Lee lacocca
The Art of the Deal / Donald Trump
The Color Purple / Alice Walker
A Brief History of Time / Stephen Hawking
The Satanic Verses / Salman Rushdie
The Remains of the Day / Kazuo Ishiguro

LISTENING

The Joshua Tree / U2

Nick of Time / Bonnie Raitt

Thriller / Michael Jackson

Sign ‘O The Times / Prince

Remain in the Light / The Talking Heads
Paul’s Boutique / The Beastie Boys
Document / R.E.M.

Synchronicity / The Police
Disintegration / The Cure

Raising Hell / Run-DMC

Appetite for Destruction / Guns N’ Roses
Like A Virgin / Madonna

Let It Loose / Miami Sound Machine
Rio / Duran Duran

Some Great Reward / Depeche Mode
Born in the U.S.A. / Bruce Springsteen
No Jacket Required / Phil Collins

An Innocent Man / Billy Joel

She’s So Unusual / Cyndi Lauper
Slippery When Wet / Bon Jovi

VIEWING

Ordinary People
Ghandi

Out of Africa

Terms of Endearment
Amadeus

Platoon

Rain Man

Driving Miss Daisy
Raging Bull

E.T. The Extra Terrestrial
Back to the Future
The Breakfast Club
Raising Arizona
Raiders of the Lost Ark
Dirty Dancing

Top Gun

Wall Street

Airplane

Footloose
Ghostbusters

JACKSONVILLE
PUBLIC LIBRARY

ReFocus Public Programs

Internet Archive Audio

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